The Essential Guide to Doing Transition. 'Tomorrow' Screenings Guide | Page 8

The film tells the story of its co-producers, Cyril Dion and Melanie Laurent. Cyril Dion is a French activist, author and journalist, who has led an NGO for seven years. In 2012, he discovered a study that was the most alarming yet: ‘Approaching a state shift in the Earth’s biosphere’ published in the journal Nature. It said that humankind could disappear between 2040 and 2100 if we don’t drastically change our way of life. He shared his worries with his friend, actress and filmmaker Mélanie Laurent, who for several years has been involved in his NGO and Greenpeace. Cyril has two children, Mélanie has just had a baby, and they don’t see how they can remain idle faced with this information.

With a small film crew, the pair then set off on a road trip around the world in search of solutions.

The film is arranged in 5 chapters, food, energy, economics, democracy and education. Three initiatives are visited in the UK. In 2014, the production team launched a crowdfunding campaign on KissKissBankBank in order to raise €200,000 to finance the film. In just 2 months, the contributions of 10,266 contributors meant that they actually raised €444,390, a record for a film crowdfunder. The film premiered in Paris during COP21.

A sample press release that you might like to adapt in order to promote your screening

French film phenomenon ‘Tomorrow’ comes to the UK

Transition Network is delighted to announce that it will be co-ordinating the community-led distribution of the French film ‘Tomorrow’ (known as ‘Demain’ in France). Tomorrow has been a phenomenon in France. Launched in December 2015, it has been watched by over 1.5 million people, won ‘Best Documentary’ at the Cesar Awards (the French Oscars), been shown to communities, schools, at the United Nations, the European Parliament, in board rooms and local governments. A recent European study 'Generation What?' found that the major concern of people between 18 and 34 years old is now ecology, rather than employment, a shift attributed largely to the film.